Wednesday, January 6, 2021
Andrew Hill - Les trinitaires
Year: 1998
File: MP3@320K/s
Time: 71:07
Size: 164,5 MB
Art: Front
( 9:10) 1. Joanne
( 9:06) 2. What's New ?
(11:30) 3. Little Spain
( 4:31) 4. 15.08
( 5:17) 5. Metz
( 7:58) 6. Dusk (Take 1)
( 6:03) 7. Labyrinth
( 5:01) 8. Seven
( 6:51) 9. Dusk (Take 2)
( 5:37) 10. I'll Be Seeing You
Les Trinitaires finds master composer Andrew Hill alone at the piano in a small French club just 18 months before recording his well-regarded ensemble recording Dusk. This is a stark, moody set, not the place to begin to explore Hill's prickly work with its angular, elusive melodies. His solo presentation is stark and ruminative. For those already engaged with his work, this offers a glimpse of the skeletal foundations of compositions, especially "Dusk" and "15/8," which would later appear on Dusk in full ensemble form. These versions of the compositions are similar to seeing the sketches made for an oil painting. The session also includes two newly minted compositions, "Metz" and "Labyrinth," which were written during his stay at the club. Hill's rendering of the two standards "What's New?" and "I'll Be Seeing You" with their dark, dense altered chords and oddly loping left-hand figures give insights into this important composer's sonic world. ~ David Dupont https://www.allmusic.com/album/les-trinitaires-mw0000434819
Personnel: Andrew Hill - piano
Personnel: Andrew Hill - piano
Les trinitaires
George Coleman - Danger High Voltage
Year: 1996
File: MP3@320K/s
Time: 68:10
Size: 157,2 MB
Art: Front
( 9:55) 1. Isn't She Lovely
(10:22) 2. Conservation
(13:31) 3. Portrait Of Jennie
( 5:06) 4. Simone
(10:03) 5. Tenderly
(12:42) 6. Follow Me
( 6:29) 7. Pretty Blues
George Coleman isn’t just the answer to the trivial pursuit question “Who were the tenor saxophonists in Miles Davis’ Band after John Coltrane and but before Wayne Shorter.” The correct answers; Hank Mobley, Sam Rivers, and George Coleman, if not achieving Miles Davis super-stardom all went on to significant careers. Miles suggested that Coleman left his sixties group because of tension. Davis said he played too perfect and that his bandmates were looking for more freedom and, one can suspect, a looser sound. My take is that George Coleman, like his Memphis jazz brother Harold Mabern, played with a blues/swing the aggressive young lions Herbie Hancock and Tony Williams were trying to eschew, for hipness sake. Like Mobley (now deceased) and more recently Rivers, Coleman has a gang of loyal devotees to his music.
Coleman has been part of many significant groups (Lionel Hampton, Elvin Jones, Horace Silver, Jimmy Smith, Chet Baker, Max Roach, and Cedar Walton and recordings (Herbie Hancock’s Maiden Voyage, and Miles Davis’ Four And More, My Funny Valentine, & Live at Antibes ). His output as a leader has been sparse (for such a great talent), with his last release being the Telarc recording I Could Write A Book: The Music Of Richard Rodgers (1998). His Octet, which has been around in some form or an other since 1973, has criminally been recorded only a few times. The Two And Four recording company rights a wrong in the debut release by Coleman’s Octet. The disc opens with Stevie Wonder’s “Isn’t She Lovely,” the octet laying such a driving blues groove you barely notice Coleman doesn’t take a solo until nearly four minutes into the song. It’s that Memphis sound that hooks you from the get-go. Harold Mabern’s piano swings so hard throughout, there is not much that could go wrong here.
Percussionist Daniel Sadowick augments the octet of two tenors, alto, and baritone saxophones, trumpet, piano bass and drums. His hand drumming along with master bassist Ray Drummond, George’s son on drums and the aforementioned Mabern, are a rhythm section with a blues predilection. Their take on the standard “Tenderly,” arranged by Ned Otter, is a rapid paced reworking which sheds every ounce of sentimentality for passionate swing. This is an octet that thinks it’s a quartet. They regard changes most little big bands would never attempt and apply generous space rarely heard in octet recordings. Highlights include trumpeter Jim Rotondi’s solo on “Portrait Of Jenny,” Coleman’s “Pretty Blues” with full-horn front split off into a call-and response, and Frank Foster’s composition “Simone” with the coltrane-esqe solo by Ned Otter. Maybe Miles Davis was right; George Coleman’s playing is too perfect. Not perfect, as in the criticism of Wynton Marsalis’ unemotional playing. But perfect in the sense of Dizzy Gillespie’s always playing the correct note at the right time. Coleman’s timing is faultless, and no one could ever say his horn is indifferent. This Memphis tenor has a large blues sound with enough passion to get your ass dancing.~ Mark Corroto https://www.allaboutjazz.com/danger-high-voltage-george-coleman-two-and-four-review-by-mark-corroto.php
Personnel: Tenor Saxophone – George Coleman, Ned Otter ; Trumpet – Jim Rotondi; Piano – Harold Mabern; Acoustic Bass – Ray Drummond; Alto Saxophone – Adam Brenner; Baritone Saxophone – Gary Smulyan; Percussion – Daniel Sadownick
Coleman has been part of many significant groups (Lionel Hampton, Elvin Jones, Horace Silver, Jimmy Smith, Chet Baker, Max Roach, and Cedar Walton and recordings (Herbie Hancock’s Maiden Voyage, and Miles Davis’ Four And More, My Funny Valentine, & Live at Antibes ). His output as a leader has been sparse (for such a great talent), with his last release being the Telarc recording I Could Write A Book: The Music Of Richard Rodgers (1998). His Octet, which has been around in some form or an other since 1973, has criminally been recorded only a few times. The Two And Four recording company rights a wrong in the debut release by Coleman’s Octet. The disc opens with Stevie Wonder’s “Isn’t She Lovely,” the octet laying such a driving blues groove you barely notice Coleman doesn’t take a solo until nearly four minutes into the song. It’s that Memphis sound that hooks you from the get-go. Harold Mabern’s piano swings so hard throughout, there is not much that could go wrong here.
Percussionist Daniel Sadowick augments the octet of two tenors, alto, and baritone saxophones, trumpet, piano bass and drums. His hand drumming along with master bassist Ray Drummond, George’s son on drums and the aforementioned Mabern, are a rhythm section with a blues predilection. Their take on the standard “Tenderly,” arranged by Ned Otter, is a rapid paced reworking which sheds every ounce of sentimentality for passionate swing. This is an octet that thinks it’s a quartet. They regard changes most little big bands would never attempt and apply generous space rarely heard in octet recordings. Highlights include trumpeter Jim Rotondi’s solo on “Portrait Of Jenny,” Coleman’s “Pretty Blues” with full-horn front split off into a call-and response, and Frank Foster’s composition “Simone” with the coltrane-esqe solo by Ned Otter. Maybe Miles Davis was right; George Coleman’s playing is too perfect. Not perfect, as in the criticism of Wynton Marsalis’ unemotional playing. But perfect in the sense of Dizzy Gillespie’s always playing the correct note at the right time. Coleman’s timing is faultless, and no one could ever say his horn is indifferent. This Memphis tenor has a large blues sound with enough passion to get your ass dancing.~ Mark Corroto https://www.allaboutjazz.com/danger-high-voltage-george-coleman-two-and-four-review-by-mark-corroto.php
Personnel: Tenor Saxophone – George Coleman, Ned Otter ; Trumpet – Jim Rotondi; Piano – Harold Mabern; Acoustic Bass – Ray Drummond; Alto Saxophone – Adam Brenner; Baritone Saxophone – Gary Smulyan; Percussion – Daniel Sadownick
Danger High Voltage
Tuesday, January 5, 2021
Dick Oatts - Standard Issue, Vol. 2
Year: 2000
File: MP3@320K/s
Time: 59:24
Size: 136,7 MB
Art: Front
(12:47) 1. Stella by Starlight
(13:42) 2. On Green Dolphin Street
(16:20) 3. Love Thy Neighbor
( 3:46) 4. Moonlight in Vermont
(12:47) 5. You Stepped out of a Dream
During his long career, saxophonist Dick Oatts has been a capable sideman on many important dates. On this follow-up to his earlier Steeplechase CD, he explores familiar standards in live jams recorded between 1997 and 1999; with one exception, all of these tracks are extended blowing sessions. Starting off on alto sax, accompanied by bassist Dave Santoro and drummer James Oblon, Oatts' tone is soft during his initial choruses in "Stella By Starlight" before cutting loose with a driving solo; his reworking of the venerable chestnut "On Green Dolphin Street" is a treat. Pianist Harold Danko joins the trio for the last three songs, and Oatts switches to tenor sax for "Love Thy Neighbor," a great standard that had fallen somewhat out of favor among jazz musicians in the final decades of the 20th century. Oatts is every bit as accomplished on the larger instrument, with a fat, confident tone, while Danko's chops are also never in question. Following a rather brief but wild take of "Moonlight in Vermont" with Oatts back on alto, the CD wraps with a thorough workout of "You Stepped out of a Dream." ~ Ken Dryden https://www.allmusic.com/album/standard-issue-vol-2-mw0000969599
Personnel: Alto Saxophone, Tenor Saxophone – Dick Oatts; Bass – Dave Santoro; Drums – James Oblon; Piano – Harold Danko
Personnel: Alto Saxophone, Tenor Saxophone – Dick Oatts; Bass – Dave Santoro; Drums – James Oblon; Piano – Harold Danko
Standard Issue, Vol. 2
Jeremy Pelt - The Art of Intimacy, Vol. 1
Year: 2020
File: MP3@320K/s
Time: 52:23
Size: 120,9 MB
Art: Front
(5:54) 1. Love Is Simple
(7:17) 2. Little Girl Blue
(6:02) 3. Always on My Mind
(4:01) 4. I've Just Seen Her
(4:36) 5. Then I'll Be Tired of You
(6:48) 6. Ebony Moonbeams
(5:52) 7. While You Are Gone
(8:02) 8. Ab-o-lutely
(3:47) 9. I'll Never Stop Loving You
Jeremy Pelt needed to get some years behind him before he could make an album like The Art of Intimacy, Vol. 1. Like many young lions, the trumpeter spent his early years spitting fire and chasing after ideas to see what stuck: most comfortable in post-bop and modal settings, with the usual suspects Miles, Hubbard, et al serving as his guiding light, he also ventured into spacious, orchestral creations, funk and electronically augmented jams, always adventurous, often audacious.
Pelt long ago proved his chops, versatility, and willingness to step out where he hadn’t before 2019’s The Artist was anchored by a multi-part suite inspired by Rodin’s sculptures but never has he taken such a deep, long breath and simply played it so cool, as he does here. What makes The Art of Intimacy so surprising is its deliberate lack of sparks, its soft, rounded edges: At 43, Pelt (who self-produced) has made the least encumbered recording of his career, a low-key, drummerless trio session, consisting primarily of ballads, most of them standards, that virtually defines the phrase “mellow jazz.”
You couldn’t have chosen better partners for this venture than pianist George Cables and bassist Peter Washington, both older gentlemen who ooze mellifluousness and sensitivity in their playing. On tracks like Rodgers and Hart’s “Little Girl Blue” and Yarburg/Schwartz’s “Then I’ll Be Tired of You,” the trio’s mutual respectfulness is omnipresent, as much in the open spaces as in their measured, deftly navigated interactions. Of the few original compositions, both Pelt’s opening “Love Is Simple” and his co-write with Washington, “Ab-o-lutely” (which Cables sits out), manage to say much with little. The Art of Intimacy, Vol. 1 is a warm, welcoming, familiar blanket bring on volume two.~ Jeff Tamarkin https://jazztimes.com/reviews/albums/jeremy-pelt-the-art-of-intimacy-vol-1-highnote/
Pelt long ago proved his chops, versatility, and willingness to step out where he hadn’t before 2019’s The Artist was anchored by a multi-part suite inspired by Rodin’s sculptures but never has he taken such a deep, long breath and simply played it so cool, as he does here. What makes The Art of Intimacy so surprising is its deliberate lack of sparks, its soft, rounded edges: At 43, Pelt (who self-produced) has made the least encumbered recording of his career, a low-key, drummerless trio session, consisting primarily of ballads, most of them standards, that virtually defines the phrase “mellow jazz.”
You couldn’t have chosen better partners for this venture than pianist George Cables and bassist Peter Washington, both older gentlemen who ooze mellifluousness and sensitivity in their playing. On tracks like Rodgers and Hart’s “Little Girl Blue” and Yarburg/Schwartz’s “Then I’ll Be Tired of You,” the trio’s mutual respectfulness is omnipresent, as much in the open spaces as in their measured, deftly navigated interactions. Of the few original compositions, both Pelt’s opening “Love Is Simple” and his co-write with Washington, “Ab-o-lutely” (which Cables sits out), manage to say much with little. The Art of Intimacy, Vol. 1 is a warm, welcoming, familiar blanket bring on volume two.~ Jeff Tamarkin https://jazztimes.com/reviews/albums/jeremy-pelt-the-art-of-intimacy-vol-1-highnote/
The Art of Intimacy, Vol. 1
Monday, January 4, 2021
Rob Zinn - Yesterday Again
Year: 2016
File: MP3@320K/s
Time: 45:10
Size: 104,0 MB
Art: Front
(3:37) 1. Back Where We Started
(4:27) 2. Noche Caliente
(4:19) 3. Yesterday Again
(4:42) 4. Scheherazade
(4:18) 5. Love Is the Answer
(4:00) 6. Time for Blues
(4:08) 7. Lost Inside
(6:09) 8. Freddie's
(5:05) 9. Your Sweet Caress
(4:21) 10. Close Your Eyes
In 2016, veteran trumpeter and flugelhornist Rob Zinn launched an exciting new phase of his distinguished, multi-faceted career, emerging as an internationally recognized independent smooth jazz artist and composer with his critically acclaimed albums Walk The Walk (2018) and Yesterday Again (2016). Walk the Walk was selected for the 61st Grammy Ballot for Best Contemporary Instrumental Album. Rob is currently recording songs for his third album. Once again working with producer Paul Brown, as well as first time collaborations with producers Greg Manning and Adam Hawley. The latest album is gonna be heavy on contemporary grooves, Rob Zinn style, with a few surprises thrown in. Zinn, an endorser of Chicago based Phaeton Trumpets released his sophomore album, Walk The Walk in April 2018. Produced by 2-time Grammy winner Paul Brown, Walk The Walk is an explosive collection of a multitude of styles that Zinn has performed over the years, including funk, Latin, R&B, rock, pop and urban jazz. In addition to showcasing his infectious songwriting and versatility on horns, it included guest appearances by East Coast based genre great Andrew Neu (saxophones) and West Coast great Michael Paulo (saxophones) and of course Paul Brown’s tasty guitar licks on several tracks.
Songs from the album received airplay on over 125 smooth jazz stations around the world with a listening audience in 90 countries.
Rob’s songs have charted top 50 on such prominent outlets as the Billboard Smooth Jazz National Airplay and Audience charts, America’s Music Chart powered by mediabase, the Smooth Jazz Top 50 Album chart, Smooth Jazz Radar chart, Smooth Jazz Indie chart, Smooth Jazz Network Top 100 chart, Groove Jazz Music Chart Top 30 and the RadioWave Internet Play chart, and received “Most Added” designations on Nielsen/Billboard numerous times. Zinn has performed at numerous jazz festivals such as the Mallorca Jazz Festival, Clifford Brown Jazz Festival, Lake Arbor Jazz Festival, Berks Jazz Festival, Sandy Shore’s Jazz Weekender, Sweet Jazz Festival and the Jazz Legacy Foundation Jazz Festival as well as venues throughout the country. When not playing with his own band, Rob often appears as a sideman with guitar player and double Grammy winner Paul Brown. A native of Maryland who grew up and established his musical career in neighboring Delaware, Zinn brings to his solo artistry a dynamic history as an ensemble performer and popular sideman. While performing in his high school jazz band and in the college jazz band at the University of Delaware, he “cut his teeth” and began his professional career with a prominent 15-piece swing band. Playing with them from the ages of 17 to 25, he performed hundreds of gigs throughout Pennsylvania, New Jersey, Maryland and Delaware at top venues, big band society dances and numerous special occasions
Zinn then joined the horn section of the heavily booked 7-piece dance party band Group Therapy, which performed heavy jazz and funk (from Tower of Power to The Brecker Brothers) everywhere from outdoor concerts and country clubs to state fairs and 800-1000 seat venues, opening for, among others, legendary acts like The Spinners, Kool & The Gang, Tower of Power and Average White Band. During his stint with this ensemble, Zinn expanded his repertoire to include lead and harmony vocals, keyboards and percussion. While playing regularly with the swing band and Group Therapy, Zinn also gigged with Just Friends, a hip big band that played the music of Buddy Rich, Hank Levy and Maynard Ferguson; and the Brian Pastor Big Band, which performed hip big band music by everyone from Buddy Rich to contemporary master and multiple Grammy winner Gordon Goodwin. Zinn later exercised his blues chops with Delaware Rock & Roll Delaware Hall of Fame band Rockett 88 and with The Jimmy Pritchard Band, which represented the Jersey Shore Jazz and Blues Foundation and competed in the annual Memphis based competition, the International Blues Challenge. Performing with both groups at various blues festivals gave the trumpeter a taste of what he is now enjoying as a leader in his own right. Over the years, he has free-lanced with many area bands and occasionally participates in tribute shows (The Beatles, George Harrison, Bruce Springsteen) at World Café Live and The Queen in Wilmington. Zinn has also played at the venue’s annual Shine the Light shows, which feature tributes to single years in pop music and raises money for music programs for underprivileged students.
Though there were no professional musicians in his immediate family, Zinn’s grandfather was a semi-pro trumpeter, so it made sense for him to carry on in that tradition when he began playing at age 9. His parents were big music lovers, and he grew up surrounded by the traditional sounds of Andy Williams, Jack Jones, Frank Sinatra, Herb Alpert, Al Hirt and Johnny Mathis. His two older sisters introduced him to the Beatles and later on his own he discovered Steely Dan, Tower of Power, Chicago, Maynard Ferguson and Chuck Mangione, while also playing along to Herb Alpert records. He added flugelhorn to his arsenal when he was a 3-time selection to the all-state jazz band in high school. all of those musical experiences paving the way, Zinn is excited about the fresh opportunities coming his way that will allow him to continue performing his own music for a rapidly growing fan base. “It is amazing to be able to take these ideas rolling around in my head, commit them to a demo, and then be part of the process of bringing a fresh composition to life with amazing musicians,” he says. The most gratifying thing, though, is playing my songs live. It’s great being a working musician interpreting other people’s compositions, but there’s nothing like making meaningful connections with my own music. I want people to feel something when I play, feel the emotion in what I’m expressing whether it’s through the melody, chords or performance – and to create a special moment in time for them. That’s the ultimate for me.” http://robzinn.com/bio/.
Rob’s songs have charted top 50 on such prominent outlets as the Billboard Smooth Jazz National Airplay and Audience charts, America’s Music Chart powered by mediabase, the Smooth Jazz Top 50 Album chart, Smooth Jazz Radar chart, Smooth Jazz Indie chart, Smooth Jazz Network Top 100 chart, Groove Jazz Music Chart Top 30 and the RadioWave Internet Play chart, and received “Most Added” designations on Nielsen/Billboard numerous times. Zinn has performed at numerous jazz festivals such as the Mallorca Jazz Festival, Clifford Brown Jazz Festival, Lake Arbor Jazz Festival, Berks Jazz Festival, Sandy Shore’s Jazz Weekender, Sweet Jazz Festival and the Jazz Legacy Foundation Jazz Festival as well as venues throughout the country. When not playing with his own band, Rob often appears as a sideman with guitar player and double Grammy winner Paul Brown. A native of Maryland who grew up and established his musical career in neighboring Delaware, Zinn brings to his solo artistry a dynamic history as an ensemble performer and popular sideman. While performing in his high school jazz band and in the college jazz band at the University of Delaware, he “cut his teeth” and began his professional career with a prominent 15-piece swing band. Playing with them from the ages of 17 to 25, he performed hundreds of gigs throughout Pennsylvania, New Jersey, Maryland and Delaware at top venues, big band society dances and numerous special occasions
Zinn then joined the horn section of the heavily booked 7-piece dance party band Group Therapy, which performed heavy jazz and funk (from Tower of Power to The Brecker Brothers) everywhere from outdoor concerts and country clubs to state fairs and 800-1000 seat venues, opening for, among others, legendary acts like The Spinners, Kool & The Gang, Tower of Power and Average White Band. During his stint with this ensemble, Zinn expanded his repertoire to include lead and harmony vocals, keyboards and percussion. While playing regularly with the swing band and Group Therapy, Zinn also gigged with Just Friends, a hip big band that played the music of Buddy Rich, Hank Levy and Maynard Ferguson; and the Brian Pastor Big Band, which performed hip big band music by everyone from Buddy Rich to contemporary master and multiple Grammy winner Gordon Goodwin. Zinn later exercised his blues chops with Delaware Rock & Roll Delaware Hall of Fame band Rockett 88 and with The Jimmy Pritchard Band, which represented the Jersey Shore Jazz and Blues Foundation and competed in the annual Memphis based competition, the International Blues Challenge. Performing with both groups at various blues festivals gave the trumpeter a taste of what he is now enjoying as a leader in his own right. Over the years, he has free-lanced with many area bands and occasionally participates in tribute shows (The Beatles, George Harrison, Bruce Springsteen) at World Café Live and The Queen in Wilmington. Zinn has also played at the venue’s annual Shine the Light shows, which feature tributes to single years in pop music and raises money for music programs for underprivileged students.
Though there were no professional musicians in his immediate family, Zinn’s grandfather was a semi-pro trumpeter, so it made sense for him to carry on in that tradition when he began playing at age 9. His parents were big music lovers, and he grew up surrounded by the traditional sounds of Andy Williams, Jack Jones, Frank Sinatra, Herb Alpert, Al Hirt and Johnny Mathis. His two older sisters introduced him to the Beatles and later on his own he discovered Steely Dan, Tower of Power, Chicago, Maynard Ferguson and Chuck Mangione, while also playing along to Herb Alpert records. He added flugelhorn to his arsenal when he was a 3-time selection to the all-state jazz band in high school. all of those musical experiences paving the way, Zinn is excited about the fresh opportunities coming his way that will allow him to continue performing his own music for a rapidly growing fan base. “It is amazing to be able to take these ideas rolling around in my head, commit them to a demo, and then be part of the process of bringing a fresh composition to life with amazing musicians,” he says. The most gratifying thing, though, is playing my songs live. It’s great being a working musician interpreting other people’s compositions, but there’s nothing like making meaningful connections with my own music. I want people to feel something when I play, feel the emotion in what I’m expressing whether it’s through the melody, chords or performance – and to create a special moment in time for them. That’s the ultimate for me.” http://robzinn.com/bio/.
Yesterday Again
RP Quartet - Poney Jungle
Year: 2020
File: MP3@320K/s
Time: 48:32
Size: 113,3 MB
Art: Front
(4:50) 1. Raging Piece
(4:51) 2. Brilliant Corners
(3:43) 3. Nefertiti
(3:36) 4. Take the a Train
(4:06) 5. Duke Ellington's Sound of Love
(3:39) 6. Like Sonny
(3:34) 7. E.S.P.
(2:53) 8. Light Blue
(4:40) 9. Reincarnation of a Lovebird
(4:11) 10. A Flower Is a Lovesome Thing
(4:34) 11. Isfahan
(3:51) 12. Joshua
For its fourth opus, the most badass French string quartet of the young guard revisits the standards of the monuments of jazz: Mingus, Ellington, Coltrane, Monk, Shorter. Without a doubt one of the most relevant training when it comes to delivering artistic experimentation based on a heritage base. The RP Quartet matures here to get to the core of its art, this "Jungle Pony" is a crazy musical cavalcade, a powerful pitfall combining candor and brilliance. Augustin BONDOUX For its fourth opus, the most badass string quartet in France’s young guard revisits standards written by some of the monuments in jazz, namely Mingus, Ellington, Coltrane, Monk and Shorter. And this four-piece is probably one of the most relevant around when it comes to artistic experiment based the material that belongs to our heritage. Here the RP Quartet shows its increasing maturity as it closes in on the essentials of its art, and Poney Jungle is a wild, powerful musical horse ride that clears every obstacle with sincerity and brio. Translate By Google https://www.discogs.com/RP-Quartet-Poney-Jungle/release/15655399
Personnel: Contrabass – Damien Varaillon; Guitar – Edouard Pennes, Rémi Oswald; Violin – Bastien Ribot
Personnel: Contrabass – Damien Varaillon; Guitar – Edouard Pennes, Rémi Oswald; Violin – Bastien Ribot
Poney Jungle
Sunday, January 3, 2021
Zaz - Effet miroir
Year: 2018
File: MP3@320K/s
Time: 52:53
Size: 123,1 MB
Art: Front
(2:38) 1. Demain c'est toi
(2:57) 2. Qué vendrá
(3:19) 3. On s'en remet jamais
(3:26) 4. J'aime j'aime
(3:29) 5. Mes souvenirs de toi
(2:25) 6. Toute ma vie
(3:30) 7. Je Parle
(5:17) 8. Résigne-moi
(3:35) 9. Ma valse
(3:55) 10. Si c'était à refaire
(2:27) 11. Pourquoi tu joues faux
(3:54) 12. Plume
(3:39) 13. Nos vies
(3:17) 14. Saint-Valentin
(4:57) 15. Laponie
French chanteuse powerhouse ZAZ has dominated the international pop scene for nearly a decade, yet she’s left little imprint on our shores. Despite glowing lauds from NPR and BlackBook, her unique style of gypsy jazz, Latin grooves and pop sensibilities rarely make waves on our side of the Atlantic. It’s a shame: ZAZ’s talent is undeniable. Her sound encompasses coy yet mature songwriting, sensual and soulful vocal delivery, and admiration and respect for fusing style and genre. It’s anyone’s guess if her latest, Effet Miroir, will spread her name across North America, but there’s no denying the depth, variety, and unbridled personality on this record. It’s a tired trope to compare every French superstar female singer to the legendary Edith Piaf. No one will ever mimic the soul and the sound of the little sparrow, but Piaf’s vivacious, rebellious spirit lives on in ZAZ’s pitch-perfect pop execution. In lesser hands opening track “Demain C’est Toi” would sound like a stale saccharine ballad with rolling piano and swelling strings. Coming from ZAZ’s tender yet deliciously gritty voice, however, the track sounds convincing and–dare one say–undeniably passionate.
ZAZ makes a habit of embracing global music styles that suit her personality, and while the results don’t always click they are still unquestionably novel efforts. The gypsy/reggae groove of “Qué Vendra” recalls her manouche roots while “J’aime j’aime” flexes a stock pop sensibility. It’s easy to argue that a French singer cherry picking non-Euro-centric styles is a cheap tactic, a ploy to draw in the Putamayo crowd. True, not everything is a raging hit, but they never detract or sound detrimental. The soca guitars backing “Porquoi Tu Joues Faux” add a nice color, but not much else. ZAZ’s personality shines through every track, for better or worse. She’s not a chameleon; she doesn’t accommodate to the songs as much as they bend to her will, centering themselves around her musical conviction. It’s a sound that works well on the stripped piano and voice intimacy of “Ma valse,” a track that lets her flirt with Jacques Brel-inspired drama without sounding over-emotive, yet not every track fares as well. The disco-funk of “On s’en remet jamais” feels misplaced, a tune that grooves yet doesn’t feel as cohesive as other dance anthems. The grandiose crowd pleaser “Nos Vies” sounds generic with tight guitars and reverb-drenched drums coming off as oddly uninspired. This would be enough for most singers, but ZAZ’s consistently stellar track record over the past decade demands more.
There’s still plenty of old world romance throughout Effet Miroir with traces of piano ballads and gypsy jazz, but more than anything the album represents a sonic evolution. Successful or not, the variety of sounds and styles is an impressive blend of electronic and acoustic tracks that sound slick without losing their soul. Still, not everything on the album shines, with a handful of tracks feeling oddly typical and uninspired. The garage rock-laced pop of “Je Parle” is a standout, a catchy track that still demonstrates ZAZ’s soulful crooning, but the glitchy programming of“Résigne Moi” fails to deliver. “Si C’était á Refaire” packs a tight funk beat, perhaps the most bombastic we’ve heard from the French chanteuse yet. There’s no denying Effet Miroir is an attempt to bring ZAZ to a broader audience. It’s light and accessible, packed with global-friendly grooves to appeal to the widest audience possible, yet with ZAZ’s voice and conviction it generally succeeds. Her slinky, playful delivery infuses a carefree spirit into each tune, yet even she can’t deliver a record full of miracles. Nonetheless, Effet Miroir soars more than it stumbles, an excellent demonstration that pop can have just as much substance as style.~ Andy Jurik https://spectrumculture.com/2018/12/13/zaz-effet-miroir-review/
ZAZ makes a habit of embracing global music styles that suit her personality, and while the results don’t always click they are still unquestionably novel efforts. The gypsy/reggae groove of “Qué Vendra” recalls her manouche roots while “J’aime j’aime” flexes a stock pop sensibility. It’s easy to argue that a French singer cherry picking non-Euro-centric styles is a cheap tactic, a ploy to draw in the Putamayo crowd. True, not everything is a raging hit, but they never detract or sound detrimental. The soca guitars backing “Porquoi Tu Joues Faux” add a nice color, but not much else. ZAZ’s personality shines through every track, for better or worse. She’s not a chameleon; she doesn’t accommodate to the songs as much as they bend to her will, centering themselves around her musical conviction. It’s a sound that works well on the stripped piano and voice intimacy of “Ma valse,” a track that lets her flirt with Jacques Brel-inspired drama without sounding over-emotive, yet not every track fares as well. The disco-funk of “On s’en remet jamais” feels misplaced, a tune that grooves yet doesn’t feel as cohesive as other dance anthems. The grandiose crowd pleaser “Nos Vies” sounds generic with tight guitars and reverb-drenched drums coming off as oddly uninspired. This would be enough for most singers, but ZAZ’s consistently stellar track record over the past decade demands more.
There’s still plenty of old world romance throughout Effet Miroir with traces of piano ballads and gypsy jazz, but more than anything the album represents a sonic evolution. Successful or not, the variety of sounds and styles is an impressive blend of electronic and acoustic tracks that sound slick without losing their soul. Still, not everything on the album shines, with a handful of tracks feeling oddly typical and uninspired. The garage rock-laced pop of “Je Parle” is a standout, a catchy track that still demonstrates ZAZ’s soulful crooning, but the glitchy programming of“Résigne Moi” fails to deliver. “Si C’était á Refaire” packs a tight funk beat, perhaps the most bombastic we’ve heard from the French chanteuse yet. There’s no denying Effet Miroir is an attempt to bring ZAZ to a broader audience. It’s light and accessible, packed with global-friendly grooves to appeal to the widest audience possible, yet with ZAZ’s voice and conviction it generally succeeds. Her slinky, playful delivery infuses a carefree spirit into each tune, yet even she can’t deliver a record full of miracles. Nonetheless, Effet Miroir soars more than it stumbles, an excellent demonstration that pop can have just as much substance as style.~ Andy Jurik https://spectrumculture.com/2018/12/13/zaz-effet-miroir-review/
Effet miroir
Suzanne Vega - An Evening of New York Songs and Stories
Year: 2020
File: MP3@320K/s
Time: 63:16
Size: 147,4 MB
Art: Front
(4:18) 1. Marlene on the Wall
(4:03) 2. Luka
(0:44) 3. 'So How Many People Are Here from out of Town?'
(3:16) 4. New York Is a Woman
(0:39) 5. 'This Next Song Takes Place on 59th Street...
(2:43) 6. Frank and Eva
(0:26) 7. 'So I Myself Came to New York City When I Was 2 ½ Years Old'
(4:28) 8. Gypsy
(2:52) 9. Freeze Tag
(3:39) 10. Pornographer's Dream
(0:21) 11. 'This Next Song Is Called New York Is My Destination'
(3:19) 12. New York Is My Destination
(0:50) 13. 'The First Time I Saw Lou Reed...'
(4:15) 14. Walk on the Wild Side
(3:33) 15. Ludlow Street
(3:03) 16. Cracking
(0:07) 17. 'And Now We've Got a Song About Those Times...'
(4:49) 18. Some Journey
(0:10) 19. 'I'm Gonna Close with This Song...'
(5:03) 20. Tom's Diner
(0:17) 21. 'Would You Like Another One?'
(3:03) 22. Anniversary
(3:02) 23. Tombstone
(4:04) 24. Thin Man
With such a long and storied career starting from her first releases in 1985, Suzanne Vega draws from her discography to create An Evening of New York Songs and Stories, a live album composed of some of Vega’s most notable songs that have to do with the Big Apple itself. It’s no secret that New York City is important to Vega, and that really shines through on this album. But what stands out even more than that is Vega’s aptitude for weaving narratives, using her folk-inspired style to make each song a complete story in and of itself. Releasing a live album right now is a smart move. With a lot of concerts being canceled or at the very least restricted, albums like this one are one way to get a part of the live experience. And while many will probably say that there’s no substitute for watching a show live, An Evening of New York Songs and Stories does a commendable job of hitting some of the high notes. There are several interludes from Vega where she introduces the next song and gives a little bit of its background. These are usually very short and they’re casual, not intrusive, and they help the album flow a bit better. However, there are definitely some aspects of a live performance that don’t translate over. There’s no mystery as to whether Vega will do an encore when she says “this next one will be the last” and there are four tracks after it.
The songs themselves are some of the best of the best of Vega’s work, being pulled from a large span of time. From 1985’s “Marlene on the Wall,” which opens the performance, to 2012’s “Ludlow Street” and to 2016’s “New York is My Destination,” almost the entirety of Vega’s career is represented here. Each song’s story draws the listener in, creating a personable and intimate atmosphere that’s boosted by the well-produced audio and non-intrusive audience noises. Standouts include “Frank and Ava,” which follows a tumultuous couple on 59th Street, “Freeze Tag,” a somber tale of childhood and love and its end, and the aforementioned “New York is My Destination.” This last one is notable because Vega initially wrote it for a play about Carson McCullers to embody her hopes and aspirations and ideas about New York City, and here on this album it serves as roughly the same thing – the idealized version of the city that so many dream of.
But like New York City, this album is incredibly multifaceted. It shows the city’s sides while showing Vega’s own multitude of talented approaches to songs. “Ludlow Street” in particular stands out as opening with a darker, captivating sound that blends with Vega’s dynamic voice. During the chorus, the song shifts into a more hopeful tone as the titular location is brought up as a kind of refuge. Vega uses not just her voice and words but also her instrumentals to paint this picture, to draw out the emotions she intends to convey. A similar darker tone shines through on “Some Journey,” although this track is as a whole more sorrowful and reflective than in the moment like “Ludlow Street.” However, “Some Journey” builds on its opening well, adding in musical flourishes and instruments to keep the flow. This aspect combines with the lyrics to portray Vega getting lost in fantasies of what could have been, drifting into her own thoughts and away from the reality of the situation until the built-up music falls away and Vega’s vocals stand out stark against spartan chords as her actual experience dawns. A thrumming lower riff starts to kick in as she regains her determination, and hope breaks through the clouds in a fascinating instrumental section. And at the very end, everything stops dead and lands on one final resolution, a spelled-out chord that finishes off the piece with lingering admiration. This album successfully encapsulates the aspects that led to Vega’s longevity in the industry, and brings a bit of the concert experience to the home in the process.~ Josiah Cottle https://music.mxdwn.com/2020/10/04/reviews/album-review-suzanne-vega-an-evening-of-new-york-songs-and-stories/
The songs themselves are some of the best of the best of Vega’s work, being pulled from a large span of time. From 1985’s “Marlene on the Wall,” which opens the performance, to 2012’s “Ludlow Street” and to 2016’s “New York is My Destination,” almost the entirety of Vega’s career is represented here. Each song’s story draws the listener in, creating a personable and intimate atmosphere that’s boosted by the well-produced audio and non-intrusive audience noises. Standouts include “Frank and Ava,” which follows a tumultuous couple on 59th Street, “Freeze Tag,” a somber tale of childhood and love and its end, and the aforementioned “New York is My Destination.” This last one is notable because Vega initially wrote it for a play about Carson McCullers to embody her hopes and aspirations and ideas about New York City, and here on this album it serves as roughly the same thing – the idealized version of the city that so many dream of.
But like New York City, this album is incredibly multifaceted. It shows the city’s sides while showing Vega’s own multitude of talented approaches to songs. “Ludlow Street” in particular stands out as opening with a darker, captivating sound that blends with Vega’s dynamic voice. During the chorus, the song shifts into a more hopeful tone as the titular location is brought up as a kind of refuge. Vega uses not just her voice and words but also her instrumentals to paint this picture, to draw out the emotions she intends to convey. A similar darker tone shines through on “Some Journey,” although this track is as a whole more sorrowful and reflective than in the moment like “Ludlow Street.” However, “Some Journey” builds on its opening well, adding in musical flourishes and instruments to keep the flow. This aspect combines with the lyrics to portray Vega getting lost in fantasies of what could have been, drifting into her own thoughts and away from the reality of the situation until the built-up music falls away and Vega’s vocals stand out stark against spartan chords as her actual experience dawns. A thrumming lower riff starts to kick in as she regains her determination, and hope breaks through the clouds in a fascinating instrumental section. And at the very end, everything stops dead and lands on one final resolution, a spelled-out chord that finishes off the piece with lingering admiration. This album successfully encapsulates the aspects that led to Vega’s longevity in the industry, and brings a bit of the concert experience to the home in the process.~ Josiah Cottle https://music.mxdwn.com/2020/10/04/reviews/album-review-suzanne-vega-an-evening-of-new-york-songs-and-stories/
An Evening of New York Songs and Stories
Saturday, January 2, 2021
Massimo Faraò Trio, Giulia Lorvich - The Great Thing in the Sky (50 Years with the Moon)
Year: 2019
File: MP3@320K/s
Time: 66:48
Size: 154,5 MB
Art: Front
(5:10) 1. Moon over Bourbon Street
(4:26) 2. Moondance
(7:03) 3. Sister Moon
(4:38) 4. Blue Moon
(6:53) 5. What a Little Moonlight Can Do
(5:08) 6. No Moon at All
(4:11) 7. How High the Moon
(4:48) 8. The Great Gig in the Sky
(3:51) 9. Moonlight Shadows
(3:24) 10. Dancing on the Moonlight
(5:59) 11. Walking on the Moon
(3:30) 12. Goodnight Moon
(3:26) 13. Half Moon
(4:15) 14. Moonlight Drive
Born in Bologna in 1985, she has been interested in music since she was a child, studying classical piano for 3 years. He then began to take an interest in African American music, and later in jazz in particular. In the meantime he studied theater and diction, then working for 2 years with the Living Theater, a theater improvisation workshop led by Gary Brackett. In 2014 she obtained, with a grade of 110 and honors, the Bachelor's Degree in Jazz Singing at the Girolamo Frescobaldi Conservatory in Ferrara, presenting a thesis on the rhythmic and stylistic approach of Anita O'Day, and in 2016 she obtained, with the same vote, the Biennial Degree of specialization in Jazz Singing and Didactics of Singing at the same institute, presenting a thesis on the relationship between music and text and scat vocality. In 2010 he also obtained a Bachelor's Degree in Semiotic Sciences at the Alma Mater Studiorum in Bologna, with a thesis on musical languages.
She studied jazz singing with Tiziana Ghiglioni, Marta Raviglia and Giuppi Paone, and also attended numerous singing and jazz improvisation workshops held by established musicians and teachers, including Maestro Barry Harris, of whom she has been a student since 2010, Sheila Jordan, Kevin Mahogany, Dena DeRose, Michele Hendricks, Rachel Gould, Cinzia Spata, Gorge Garzone, Bob Stoloff, Denise King and others. She has performed regularly in jazz clubs and Italian clubs since 2008, accompanied by different formations, in duo, trio, quartet or quintet depending on current needs and projects. Among others, she has performed at: Bravo Caffè and Cantina Bentivoglio in Bologna, Bologna Jazz Festival, Jazz Club Turin, Vapore (Porto Marghera), Porretta Soul Festival, Gregory's Jazz Club (Rome), Salina Jazz Festival (Messina) Selva In Jazz (Bo), Gezzmatazz Festival (Genoa), Bobby Durham's Jazz Fest (Isola del Cantone, GE), Umbria Jazz, Enosteria (Brescia), Ferrara Jazz Club, Andora Jazz Festival, Valsamoggia Jazz Club, Teatro del Baraccano (BO). Together with the trio composed by Massimo Faraò (piano), Aldo Zunino (double bass) and Marco Tolotti (drums) in the spring of 2014 he recorded his first album as a soloist, containing a selection of jazz standards, and released in May 2015 for the Racing Jazz label.
In April 2015 he made the prestigious collaboration with drummer Jimmy Cobb, recording a double disc of Italian music rearranged according to the jazz language; the disc, in which Faraò and Zunino also play , is published by the prestigious Azzurra Records label. For the same label and with Massimo Faraò in 2019 he released the album The Great Gig In The Sky.On the other hand, the album Minutes of Gold, released on the Velut Luna label in collaboration with Egea Music, is in 2018, in which she is a vocal interpreter and author of the texts in English. Since 2014 he has been teaching vocal technique privately, jazz singing, English language and diction for singing, and since 2015 he has held the chair of singing at the Bentivoglio Music School (BO), the Enzo Suffritti Music School in Finale Emilia (Modena). and the Giovanni Capitano Music School of Ozzano (BO).She also works as an organizer of masterclasses of American artists in Italy, to whom she also acts as an interpreter during the lessons: the most important events she helped organize were the masterclass by Kevin Mahogany in Bologna (October 2013) and Sheila Jordan in Turin (April 2014).
He has collaborated with numerous musicians including: Jimmy Cobb, Massimo Faraò, Paolo Birro, Byron Landham, Aldo Zunino, Andrea Pozza, Steve Williams, Carlo Atti, Alessandro Minetto, Jimmy Villotti, Massimo Manzi, Massimo Tagliata, Luigi Scerra, Giannicola Spezzigu, Andrea Calì, Andrea Grillini, Stefano Dallaporta, Filippo Cassanelli, Oreste Soldano, Domenico LoParco, Luca Pisani, Teo Ciavarella, Massimo Dall'Omo, Alessandro Altarocca, Giancarlo Bianchetti, Jacopo Salieri, Nicola Govoni, Pietro Lussu, Fausto Negrelli, David Muehsam, Guglielmo Pagnozzi, Groove City Soul Band and others. Translate By Google https://giulialorvich.wixsite.com/giulialorvichjazz/about-me
She studied jazz singing with Tiziana Ghiglioni, Marta Raviglia and Giuppi Paone, and also attended numerous singing and jazz improvisation workshops held by established musicians and teachers, including Maestro Barry Harris, of whom she has been a student since 2010, Sheila Jordan, Kevin Mahogany, Dena DeRose, Michele Hendricks, Rachel Gould, Cinzia Spata, Gorge Garzone, Bob Stoloff, Denise King and others. She has performed regularly in jazz clubs and Italian clubs since 2008, accompanied by different formations, in duo, trio, quartet or quintet depending on current needs and projects. Among others, she has performed at: Bravo Caffè and Cantina Bentivoglio in Bologna, Bologna Jazz Festival, Jazz Club Turin, Vapore (Porto Marghera), Porretta Soul Festival, Gregory's Jazz Club (Rome), Salina Jazz Festival (Messina) Selva In Jazz (Bo), Gezzmatazz Festival (Genoa), Bobby Durham's Jazz Fest (Isola del Cantone, GE), Umbria Jazz, Enosteria (Brescia), Ferrara Jazz Club, Andora Jazz Festival, Valsamoggia Jazz Club, Teatro del Baraccano (BO). Together with the trio composed by Massimo Faraò (piano), Aldo Zunino (double bass) and Marco Tolotti (drums) in the spring of 2014 he recorded his first album as a soloist, containing a selection of jazz standards, and released in May 2015 for the Racing Jazz label.
In April 2015 he made the prestigious collaboration with drummer Jimmy Cobb, recording a double disc of Italian music rearranged according to the jazz language; the disc, in which Faraò and Zunino also play , is published by the prestigious Azzurra Records label. For the same label and with Massimo Faraò in 2019 he released the album The Great Gig In The Sky.On the other hand, the album Minutes of Gold, released on the Velut Luna label in collaboration with Egea Music, is in 2018, in which she is a vocal interpreter and author of the texts in English. Since 2014 he has been teaching vocal technique privately, jazz singing, English language and diction for singing, and since 2015 he has held the chair of singing at the Bentivoglio Music School (BO), the Enzo Suffritti Music School in Finale Emilia (Modena). and the Giovanni Capitano Music School of Ozzano (BO).She also works as an organizer of masterclasses of American artists in Italy, to whom she also acts as an interpreter during the lessons: the most important events she helped organize were the masterclass by Kevin Mahogany in Bologna (October 2013) and Sheila Jordan in Turin (April 2014).
He has collaborated with numerous musicians including: Jimmy Cobb, Massimo Faraò, Paolo Birro, Byron Landham, Aldo Zunino, Andrea Pozza, Steve Williams, Carlo Atti, Alessandro Minetto, Jimmy Villotti, Massimo Manzi, Massimo Tagliata, Luigi Scerra, Giannicola Spezzigu, Andrea Calì, Andrea Grillini, Stefano Dallaporta, Filippo Cassanelli, Oreste Soldano, Domenico LoParco, Luca Pisani, Teo Ciavarella, Massimo Dall'Omo, Alessandro Altarocca, Giancarlo Bianchetti, Jacopo Salieri, Nicola Govoni, Pietro Lussu, Fausto Negrelli, David Muehsam, Guglielmo Pagnozzi, Groove City Soul Band and others. Translate By Google https://giulialorvich.wixsite.com/giulialorvichjazz/about-me
The Great Thing in the Sky (50 Years with the Moon)
Steve Lacy - The Straight Horn of Steve Lacy
Year: 1960
File: MP3@320K/s
Time: 37:16
Size: 85,6 MB
Art: Front
(5:27) 1. Louise
(5:34) 2. Introspection
(7:54) 3. Donna Lee
(5:53) 4. Played Twice
(6:40) 5. Air
(5:46) 6. Criss Cross
Some of soprano saxophonist Steve Lacy's most interesting recordings are his earliest ones. After spending periods of time playing with Dixieland groups and then with Cecil Taylor (which was quite a jump), Lacy made several recordings that displayed his love of Thelonious Monk's music plus his varied experiences. On this particular set, Lacy's soprano contrasts well with Charles Davis' baritone (they are backed by bassist John Ore and drummer Roy Haynes) on three of the most difficult Monk tunes ("Introspection," "Played Twice," and "Criss Cross") plus two Cecil Taylor compositions and Charlie Parker's "Donna Lee."~ Scott Yanow https://www.allmusic.com/album/the-straight-horn-of-steve-lacy-mw0000193914
Personnel: Steve Lacy - soprano saxophone; Charles Davis - baritone saxophone; John Ore - bass; Roy Hanes - drums
Personnel: Steve Lacy - soprano saxophone; Charles Davis - baritone saxophone; John Ore - bass; Roy Hanes - drums
The Straight Horn of Steve Lacy
Friday, January 1, 2021
Wolfgang Muthspiel Trio - Timezones
Year: 1989
File: MP3@320K/s
Time: 54:48
Size: 126,3 MB
Art: Front
(8:34) 1. My Hill
(6:37) 2. Chip
(5:28) 3. Asleep (For Christine)
(1:36) 4. Introduction
(2:29) 5. Everything Happens To That Dog
(6:41) 6. On The Edge
(6:24) 7. Singing Beach
(7:26) 8. Timezones
(9:32) 9. Blue Morning Rays (For Menga)
Wolfgang Muthspiel is an Austrian guitarist, composer, and founder/owner of Material Records. His intuitive, probing style has made him a celebrated, in-demand sideman since the 1980s. He has worked with Gary Burton, Youssou N’Dour, Gary Peacock, Dave Liebman, Paul Motian, and dozens more, and has pursued everything from straight-ahead jazz to pop to electronic to world music. Muthspiel's sound, whether on electric guitar or nylon-string acoustic, is immediately recognizable for its soft touch and elegant use of chord voicings interspersed with fluid, single-string playing. It's holistic in that each tradition he has studied and incorporated is embodied in every phrase, vamp, or riff. Whether on his unaccompanied album Solo (2004), which revealed Ornette Coleman's influence adapted for guitar; his trio dates From a Dream (2009) and Travel Guide (2013) with guitarists Slava Grigoryan and Ralph Towner; or larger group outings such as Rising Grace (2016), Muthspiel's signature is as melodic and accessible as it is indelible.
Muthspiel, the younger brother of trombonist /composer Christian Muthspiel, with whom he has collaborated often, began formal music studies with the violin at age six and switched to classical guitar at 14. After graduating secondary school, he attended the Berklee College of Music in Boston on a full scholarship. His study of extended harmony with guitarist and composer Mick Goodrick proved influential. In 1985, he released the first of three duo albums with Christian, Duo Due Schneetanz. Duo Due Focus It (1987), and Duo Due Tre (1989). Muthspiel began a two-year touring stint with Gary Burton in 1988 (Goodrick was also part of this group), where he established a stellar reputation among jazzmen as well as audiences. In 1989, he issued his Polygram debut, Timezones, and followed it in 1990 with The Promise; they both featured Bob Berg in the saxophonist's chair. In the mid-'90s, the guitarist relocated to New York City, where he lived until 2002. He spent the remainder of the decade issuing albums for Polygram that featured sidemen such as Tom Harrell, Don Alias, Larry Grenadier, and Kenny Wollesen, among others. He also played on recordings by Patricia Barber, Peacock, Marc Johnson, Gabrielle Goodman, and Motian. In 1997 he was named Austrian Jazz Musician of the Year.
In 2000, he founded Material Records. His early projects for it were collaborations with Christian including their acclaimed electronic project Echoes of Techno and three albums with Norwegian jazz vocalist Rebekka Bakken (the standout is the gorgeous duet set Beloved). Muthspiel also recorded for Quintron during this period, issuing collaborative titles with the Vienna Concert Jazz Orchestra, and 2004's Air, Love & Vitamins, his first recorded association with drummer Brian Blade. Muthspiel also released Solo, an album of treated guitar pieces that would become another of his sonic trademarks in studios and on stages. Other notable collaborative albums on Material during the decade included Glow, with oudist Dhafer Youssef; From a Dream, the 2009 recorded debut from the trio MGT with Slava Grigoryan and Ralph Towner they had been playing and touring together since 2005 and Live at the Jazz Standard with Goodrick.
Though he had composed "Tonspiel (The Play of Tones)" back in 1986, the 21st century also saw Muthspiel accepting further commissions of the type. He wrote for contemporary ensembles such Klangforum Wien and the Hugo Wolf Quartet, New Music/Zürich, the Austrian Ministry of Arts, the Boston-based ensemble Marimolin, violinist Beni Schmid, and the Austrian Esterházy Foundation. In 2011, Material released the self-titled Drumfree trio album, with the guitarist in the company of saxophonist Andy Scherrer and bassist Larry Grenadier. In June of the following year, the ever-restless Muthspiel released Vienna, Naked, the first volume of an original song cycle showcasing only his guitar and voice. In 2013, ECM issued Travel Guide by MGT. Driftwood was his first leader date for the label, where he was aided by Blade and Grenadier. The following year saw the issue of Vienna, World, from Material. The second offering in his song cycle, this project was cut internationally with a variety of musicians in several configurations. It included duets with pianist Billy Childs and vocalist Becca Stevens, the guitarist playing with bands from Argentina and Switzerland (the latter including the Lindvall brothers from a-ha), and a string trio with cello and violin. Muthspiel's next leader date for ECM was 2016's Rising Grace. With Blade and Grenadier, it expanded the trio to a quintet that included trumpeter Ambrose Akinmusire and pianist Brad Mehldau.
The essence of that group with drummer Eric Harland added carried the story forward two years later with the September 2018 release of Where the River Goes; recorded at Studios La Buissonne in February and produced by Manfred Eicher, it featured six compositions by Muthspiel and one by Mehldau, as well as freely improvised pieces from the band. ECM issued the guitarist's Angular Blues in March of 2020. With bassist Scott Colley replacing Larry Grenadier in Muthspiel's trio with Brian Blade, the group convened in Tokyo’s Studio Dede after a three-night run at the city’s Cotton Club. Manfred Eicher mixed the set. ~ Tom Jurek https://www.allmusic.com/artist/wolfgang-muthspiel-mn0000675650/biography
Personnel: Wolfgang Muthspiel (guitar), Bob Berg (saxophone), Aydin Esen (piano), Peter Herbert (bass), Alex Deutsch (drums)
Muthspiel, the younger brother of trombonist /composer Christian Muthspiel, with whom he has collaborated often, began formal music studies with the violin at age six and switched to classical guitar at 14. After graduating secondary school, he attended the Berklee College of Music in Boston on a full scholarship. His study of extended harmony with guitarist and composer Mick Goodrick proved influential. In 1985, he released the first of three duo albums with Christian, Duo Due Schneetanz. Duo Due Focus It (1987), and Duo Due Tre (1989). Muthspiel began a two-year touring stint with Gary Burton in 1988 (Goodrick was also part of this group), where he established a stellar reputation among jazzmen as well as audiences. In 1989, he issued his Polygram debut, Timezones, and followed it in 1990 with The Promise; they both featured Bob Berg in the saxophonist's chair. In the mid-'90s, the guitarist relocated to New York City, where he lived until 2002. He spent the remainder of the decade issuing albums for Polygram that featured sidemen such as Tom Harrell, Don Alias, Larry Grenadier, and Kenny Wollesen, among others. He also played on recordings by Patricia Barber, Peacock, Marc Johnson, Gabrielle Goodman, and Motian. In 1997 he was named Austrian Jazz Musician of the Year.
In 2000, he founded Material Records. His early projects for it were collaborations with Christian including their acclaimed electronic project Echoes of Techno and three albums with Norwegian jazz vocalist Rebekka Bakken (the standout is the gorgeous duet set Beloved). Muthspiel also recorded for Quintron during this period, issuing collaborative titles with the Vienna Concert Jazz Orchestra, and 2004's Air, Love & Vitamins, his first recorded association with drummer Brian Blade. Muthspiel also released Solo, an album of treated guitar pieces that would become another of his sonic trademarks in studios and on stages. Other notable collaborative albums on Material during the decade included Glow, with oudist Dhafer Youssef; From a Dream, the 2009 recorded debut from the trio MGT with Slava Grigoryan and Ralph Towner they had been playing and touring together since 2005 and Live at the Jazz Standard with Goodrick.
Though he had composed "Tonspiel (The Play of Tones)" back in 1986, the 21st century also saw Muthspiel accepting further commissions of the type. He wrote for contemporary ensembles such Klangforum Wien and the Hugo Wolf Quartet, New Music/Zürich, the Austrian Ministry of Arts, the Boston-based ensemble Marimolin, violinist Beni Schmid, and the Austrian Esterházy Foundation. In 2011, Material released the self-titled Drumfree trio album, with the guitarist in the company of saxophonist Andy Scherrer and bassist Larry Grenadier. In June of the following year, the ever-restless Muthspiel released Vienna, Naked, the first volume of an original song cycle showcasing only his guitar and voice. In 2013, ECM issued Travel Guide by MGT. Driftwood was his first leader date for the label, where he was aided by Blade and Grenadier. The following year saw the issue of Vienna, World, from Material. The second offering in his song cycle, this project was cut internationally with a variety of musicians in several configurations. It included duets with pianist Billy Childs and vocalist Becca Stevens, the guitarist playing with bands from Argentina and Switzerland (the latter including the Lindvall brothers from a-ha), and a string trio with cello and violin. Muthspiel's next leader date for ECM was 2016's Rising Grace. With Blade and Grenadier, it expanded the trio to a quintet that included trumpeter Ambrose Akinmusire and pianist Brad Mehldau.
The essence of that group with drummer Eric Harland added carried the story forward two years later with the September 2018 release of Where the River Goes; recorded at Studios La Buissonne in February and produced by Manfred Eicher, it featured six compositions by Muthspiel and one by Mehldau, as well as freely improvised pieces from the band. ECM issued the guitarist's Angular Blues in March of 2020. With bassist Scott Colley replacing Larry Grenadier in Muthspiel's trio with Brian Blade, the group convened in Tokyo’s Studio Dede after a three-night run at the city’s Cotton Club. Manfred Eicher mixed the set. ~ Tom Jurek https://www.allmusic.com/artist/wolfgang-muthspiel-mn0000675650/biography
Personnel: Wolfgang Muthspiel (guitar), Bob Berg (saxophone), Aydin Esen (piano), Peter Herbert (bass), Alex Deutsch (drums)
Timezones
Wednesday, December 30, 2020
Patricia Sosa, Chucho Valdés - ONCE: Concierto para Dos
Year: 2017
File: MP3@320K/s
Time: 49:53
Size: 114,8 MB
Art: Front
(3:47) 1. Alli
(3:53) 2. Envidia
(3:39) 3. Distancia
(3:24) 4. Ningún Amor Es Perfecto
(6:22) 5. Vela Encendida
(6:44) 6. Dias de Otoño
(3:44) 7. Me Has Echado al Olvido
(5:14) 8. Marcada a Fuego
(5:02) 9. Ya No Me Dueles
(3:32) 10. De Aqui a la Eternidad
(4:28) 11. Concierto para Dos
The Argentine singer-songwriter, Patricia Sosa, gives a turn in her career with the presentation of "Once (Concierto para dos)", an album of boleros and ballads that features the participation of the emblematic Cuban pianist, Chucho Valdés. This record was recorded at Chucho's studio in Málaga, with the participation of artists Dany Leis, Daniel Casares, Esperanza García de Soria and Miguel Poveda. https://www.amazon.com/Once-Concierto-PATRICIA-VALD%C3%89S-CHUCHO/dp/B0784W1HC7
ONCE: Concierto para Dos
Tuesday, December 29, 2020
Scott Hamilton - Scott Hamilton Plays Ballads
Year: 1989
File: MP3@320K/s
Time: 55:30
Size: 128,2 MB
Art: Front
(4:14) 1. I'll Only Miss Her When I Think Of Her
(6:13) 2. Dream Dancing
(5:58) 3. 'Round Midnight
(4:47) 4. Two Eighteen
(4:50) 5. Laura
(3:40) 6. Maybe September
(4:53) 7. Emily
(4:57) 8. In A Sentimental Mood
(5:28) 9. A Beautiful Friendship
(5:22) 10. Body And Soul
(5:03) 11. Embraceable You
Its title accurately describes the romantic music on this CD. The warm tenor of Scott Hamilton (accompanied by pianist John Bunch, guitarist Chris Flory, bassist Phil Flanigan and drummer Chuck Riggs) brings out a great deal of beauty on 11 ballads, including his own "Two Eighteen" and a variety of veteran melodies.~ Scott Yanow https://www.allmusic.com/album/scott-hamilton-plays-ballads-mw0000654142
Personnel: Tenor Saxophone – Scott Hamilton; Bass – Phil Flanigan; Drums – Chuck Riggs; Guitar – Chris Flory; Piano – John Bunch
Personnel: Tenor Saxophone – Scott Hamilton; Bass – Phil Flanigan; Drums – Chuck Riggs; Guitar – Chris Flory; Piano – John Bunch
Scott Hamilton Plays Ballads
The Royal Bopsters - Party of Four
Year: 2020
File: MP3@320K/s
Time: 58:41
Size: 135,5 MB
Art: Front
(4:21) 1. But Not for Me
(5:10) 2. On a Misty Night/Gipsy
(6:20) 3. How I Love You (Let Me Count the Reasons)
(4:38) 4. Lucky to Be Me
(4:51) 5. Why'd You Do Me the Way You Did?
(3:54) 6. Day Dream
(5:09) 7. Cuando Te Vea (When I See You)
(4:27) 8. Baby, You Should Know It
(4:39) 9. Our Spring Song
(3:26) 10. Rusty Dusty Blues
(7:35) 11. Infant Eyes
(4:07) 12. My Shining Hour
At a quick glance, the Royal Bopsters’ new recording, Party of Four (Motéma), appears to be a straightforward continuation of their 2015 debut, The Royal Bopsters Project. The group remains a quartet carrying the torch of vocalese from Lambert, Hendricks & Ross, the Manhattan Transfer, and New York Voices. Like their debut, the new album is highlighted by contributions from vocal legends Bob Dorough and Sheila Jordan. It also features a guest appearance by the great bassist Christian McBride, who shares the Bopsters’ fondness for soulful vibes and a sense of bebop cool. But look closer; a lot has changed. Darmon Meader, a co-founder of NY Voices who sang tenor on the first recording, has been replaced by Pete McGuinness. The new recording presents the quartet less as a “project” than as a working group. Dig a little deeper and that’s fraught too: The group suffered tragedy this spring when founding member Holli Ross passed away after a three-year battle with cancer. Thus, the Royal Bopsters circa autumn 2020 are in a vastly different place from where they were five years ago. One late September morning, McGuinness, soprano Amy London, and bass Dylan Pramuk jumped on a Zoom call to discuss jazz singing past, present, and future and their group’s role in it.
“The first record was really created as a celebration of these legendary heroes of ours,” Pramuk said. “We’re still celebrating them now, but we’ve come into our own as a group.” Pramuk has played an important role in this evolution, having written the arrangements for eight of the 12 new tracks. McGuinness, also a noted arranger, contributed the other four. “Swing-oriented, bebop-oriented, vocalese-oriented music that’s still at the heart and soul of what we do,” he said. But don’t mistake the Royal Bopsters for revivalists; that music is certainly at their root, but they’re seeking to branch out further. London said it goes beyond musical innovation: “I think the whole bebop movement represented freedom for the people that were involved in it. It’s a frame of mind; it’s a way of living.”
She continued, “Pete is a composer and he brought an original called ‘Spring Song,’ and I wrote a lyric for it. It still employs the concepts of bebop a shout chorus and a scat four-part harmony chorus, which is kind of a small-band, Tadd Dameron concept but it’s brand new.”Pramuk cited McGuinness’ arrangement of Wayne Shorter’s “Infant Eyes” as a prime example of their modernism: “We wanted to tackle more pushing-the-envelope compositions. Pete’s very adept at modern arranging techniques; that song is very intricately arranged.” McGuinness added, “A lot of groups have covered swing stuff and then some have covered pop music New York Voices have with Paul Simon. But most vocal groups don’t touch someone like Wayne Shorter. That’s a little too abstract.”
The road ahead for the Bopsters has become more complicated in the wake of Ross’ death; her lithe alto was a cornerstone of the group’s harmonies. “We were not in a rush to replace Holli’s chair in the current climate, but we’re discussing it,” Pramuk said. “We’re working with some friends, and we will be ready when touring resumes.” In discussing their search, London described the sort of singer that could become a Royal Bopster. “We’re looking at altos that have been in groups before because it’s a specific skill,” she said. “Singing in a vocal jazz group is not so easy. The four of us are what I call choral geeks. Dylan and I started in choir in third grade in America, it seems like third grade is the year where you join the choir and then there are those that stick with choir all the way through high school. We love it, and we’re good at it. We can memorize, we can set harmonies, and then you hear jazz and you’re like, ‘Oh, vocal jazz choir.’ So it’s a certain kind of singer that does that.” Going forward, the group wants to refine its style. “Our four personalities have come together as one,” Pramuk said. “And I see that that is going to continue to happen as we bring another member into the group and further develop. We’re already getting excited about creating the next set of material!” ~ Martin Johnson https://jazztimes.com/features/profiles/the-royal-bopsters-keep-their-group-identity-alive/
All four singers pull their weight — Amy London, Dylan Pramuk, Pete McGuinness, and the late Holli Ross. The band does a good job backing the singers: Steve Schmidt (piano), Cameron Brown (bass), Steve Williams (drums), and Steven Kroon (percussion).
“The first record was really created as a celebration of these legendary heroes of ours,” Pramuk said. “We’re still celebrating them now, but we’ve come into our own as a group.” Pramuk has played an important role in this evolution, having written the arrangements for eight of the 12 new tracks. McGuinness, also a noted arranger, contributed the other four. “Swing-oriented, bebop-oriented, vocalese-oriented music that’s still at the heart and soul of what we do,” he said. But don’t mistake the Royal Bopsters for revivalists; that music is certainly at their root, but they’re seeking to branch out further. London said it goes beyond musical innovation: “I think the whole bebop movement represented freedom for the people that were involved in it. It’s a frame of mind; it’s a way of living.”
She continued, “Pete is a composer and he brought an original called ‘Spring Song,’ and I wrote a lyric for it. It still employs the concepts of bebop a shout chorus and a scat four-part harmony chorus, which is kind of a small-band, Tadd Dameron concept but it’s brand new.”Pramuk cited McGuinness’ arrangement of Wayne Shorter’s “Infant Eyes” as a prime example of their modernism: “We wanted to tackle more pushing-the-envelope compositions. Pete’s very adept at modern arranging techniques; that song is very intricately arranged.” McGuinness added, “A lot of groups have covered swing stuff and then some have covered pop music New York Voices have with Paul Simon. But most vocal groups don’t touch someone like Wayne Shorter. That’s a little too abstract.”
The road ahead for the Bopsters has become more complicated in the wake of Ross’ death; her lithe alto was a cornerstone of the group’s harmonies. “We were not in a rush to replace Holli’s chair in the current climate, but we’re discussing it,” Pramuk said. “We’re working with some friends, and we will be ready when touring resumes.” In discussing their search, London described the sort of singer that could become a Royal Bopster. “We’re looking at altos that have been in groups before because it’s a specific skill,” she said. “Singing in a vocal jazz group is not so easy. The four of us are what I call choral geeks. Dylan and I started in choir in third grade in America, it seems like third grade is the year where you join the choir and then there are those that stick with choir all the way through high school. We love it, and we’re good at it. We can memorize, we can set harmonies, and then you hear jazz and you’re like, ‘Oh, vocal jazz choir.’ So it’s a certain kind of singer that does that.” Going forward, the group wants to refine its style. “Our four personalities have come together as one,” Pramuk said. “And I see that that is going to continue to happen as we bring another member into the group and further develop. We’re already getting excited about creating the next set of material!” ~ Martin Johnson https://jazztimes.com/features/profiles/the-royal-bopsters-keep-their-group-identity-alive/
All four singers pull their weight — Amy London, Dylan Pramuk, Pete McGuinness, and the late Holli Ross. The band does a good job backing the singers: Steve Schmidt (piano), Cameron Brown (bass), Steve Williams (drums), and Steven Kroon (percussion).
Party of Four
Monday, December 28, 2020
Don Patterson - Boppin' & Burnin'
File: MP3@320K/s
Time: 39:51
Size: 91,7 MB
Art: Front
(14:02) 1. Pisces Soul
( 6:18) 2. Donna Lee
( 6:42) 3. Island Fantasy
( 5:09) 4. Epistrophy
( 7:37) 5. Now's the time
Although organist Don Patterson is the leader of this set that in 1998 was reissued on a CD, the quintet date is most notable for the playing of trumpeter Howard McGhee. McGhee, who had not been heard from much on record for a few years, proves to still be in prime form.
Altoist Charles McPherson, the young guitarist Pat Martino and drummer Billy James complete the group. The repertoire is particularly strong with two McGhee originals (including the memorable and haunting "Island Fantasy"), "Epistrophy," "Now's The Time" and a trumpet feature on "Donna Lee." Highly recommended. ~ Scott Yanow https://www.allmusic.com/album/boppin-and-burnin-mw0000599981
Personnel: Organ – Don Patterson Trumpet – Howard McGhee; Alto Saxophone – Charles McPherson; Drums – Billy James; Guitar – Pat Martino
Altoist Charles McPherson, the young guitarist Pat Martino and drummer Billy James complete the group. The repertoire is particularly strong with two McGhee originals (including the memorable and haunting "Island Fantasy"), "Epistrophy," "Now's The Time" and a trumpet feature on "Donna Lee." Highly recommended. ~ Scott Yanow https://www.allmusic.com/album/boppin-and-burnin-mw0000599981
Personnel: Organ – Don Patterson Trumpet – Howard McGhee; Alto Saxophone – Charles McPherson; Drums – Billy James; Guitar – Pat Martino
Boppin' & Burnin'
Ben Sidran - Who's the Old Guy Now
Year: 2020
File: MP3@320K/s
Time: 19:58
Size: 46,2 MB
Art: Front
(3:38) 1. We the People
(3:44) 2. Who's the Old Guy Now
(3:38) 3. The Blues Is the Bottom line
(5:33) 4. Too Many People
(3:23) 5. Old Wine New Bottle
For the second year in a row, I talk to my dad, musician/producer/journalist/philosopher Ben Sidran in honor of his birthday. This time he's turning 77, and we consider his recent projects, including the books "The Ballad of Tommy LiPuma" and "There Was a Fire: Jews, Music and the American Dream," and his latest single "Look Who's the Old Guy Now."
Of course, these are atypical times, and so this is an atypical episode, in which we discuss being alive on the planet in Covid times, watching livestream jazz, getting older, the difference between Troubadours, Shamans and Griots, going "underground," why jazz is sometimes called "the sound of surprise," whether or not the idea of "popular music" will endure into the twenty-first century, how a bill becomes a law, Miles Davis' posture, and just what exactly "hay foot straw foot" means.~ Leo Sidran https://www.allaboutjazz.com/ben-sidran-whos-the-old-guy-now-ben-sidran
Personnel: Ben Sidran: piano, Wurlitzer, Hammond organ, vocals, Leo Sidran: drums, bass, guitar, Hammond organ, vocals, John Ellis: bass clarinet and clarinet (4), Billy Peterson: bass (1), Paul Peterson: guitar (1) Ricky Peterson: Hammond organ (1), Moses Patrou: percussion (1,3)
Of course, these are atypical times, and so this is an atypical episode, in which we discuss being alive on the planet in Covid times, watching livestream jazz, getting older, the difference between Troubadours, Shamans and Griots, going "underground," why jazz is sometimes called "the sound of surprise," whether or not the idea of "popular music" will endure into the twenty-first century, how a bill becomes a law, Miles Davis' posture, and just what exactly "hay foot straw foot" means.~ Leo Sidran https://www.allaboutjazz.com/ben-sidran-whos-the-old-guy-now-ben-sidran
Personnel: Ben Sidran: piano, Wurlitzer, Hammond organ, vocals, Leo Sidran: drums, bass, guitar, Hammond organ, vocals, John Ellis: bass clarinet and clarinet (4), Billy Peterson: bass (1), Paul Peterson: guitar (1) Ricky Peterson: Hammond organ (1), Moses Patrou: percussion (1,3)
Who's the Old Guy Now
Sunday, December 27, 2020
Opus 5 - Tickle
File: MP3@320K/s
Time: 59:42
Size: 137,3 MB
Art: Front
(8:27) 1. Silver Pockets
(9:02) 2. Tickle
(9:36) 3. New Old Ballad
(8:43) 4. Five Corners
(9:05) 5. Equilibrium
(7:33) 6. Crack to the Crevice
(7:13) 7. Murzake
Despite busy schedules, the five co-leaders of Opus 5 return once again with a fourth album, Tickle, a statement of great virtuosity, melodic integrity and rhythmic focus. Taking its place alongside Introducing Opus 5, Pentasonic and Progressions, this session finds the band in peak form, interpreting compositions by all the band's members. From the shifting funk to swing of drummer Donald Edwards-penned title track, to the singable purity of tenorist Seamus Blake's opening Silver Pockets, to the poetic bass cadenza and plaintive mood of bassist Boris Kozlov's closing ballad Murzake, Tickle secures Opus 5's place as one of the most compelling and long-lived collectives in recent years. Pianist David Kikoski composed the beautiful New Old Ballad, trumpeter Alex Sipiagin wrote Equilibrium. ~ Opiniones Editoriales https://www.amazon.com/Tickle-Opus-5/dp/B0143DKJI2
Seamus Blake - saxophone, compose; Alex Sipiagin - trumpet, flugelhorn, composer; David Kikoski - piano, fender rhodes, composer; Boris Kozlov - bass, composer; Donald Edwards - drums, composer
Seamus Blake - saxophone, compose; Alex Sipiagin - trumpet, flugelhorn, composer; David Kikoski - piano, fender rhodes, composer; Boris Kozlov - bass, composer; Donald Edwards - drums, composer
Tickle
Janet Carroll - I'll Be Seeing You
Year: 2000
File: MP3@320K/s
Time: 46:24
Size: 107,2 MB
Art: Front
(5:23) 1. I'll Be Seeing You
(2:59) 2. When I Leave This World Behind
(3:20) 3. It Had To Be You
(3:19) 4. Just a Closer Walk With Thee
(3:10) 5. But Not For Me
(4:09) 6. St. Louis Blues
(4:18) 7. Strike Up The Band
(3:45) 8. Buddy Bulden's Blues
(3:15) 9. Golden Gate
(4:48) 10. What a Wonderful World
(3:16) 11. Feeling I'm Falling
(4:36) 12. Battle Hymn of the Republic
Janet Carroll is best known as an actress, having appeared in a long list of television, stage and movie productions. Music, however, is also one of her loves, and she has an affinity for jazz and the blues. She has put out a trio of albums, with more in the works, and for two decades she has sung at numerous North American jazz festivals in cities ranging from New Orleans and Monterey in the U.S. to Vancouver and Victoria in Canada. At the Redding Jazz Festival, she was honored with an award for Best Vocalist. Her appearances feature backing by a seven-piece band playing.
Carroll's first major film role came when she was cast in Risky Business as parent to a teenaged Tom Cruise. More film roles followed, casting her alongside such leading men as Sean Connery, Michael York, Henry Winkler, Matthew Broderick, Edward James Olmos, Beau Bridges, Keifer Sutherland, and Dustin Hoffman, among others. Her television appearances include Murphy Brown, Married With Children, and Melrose Place, as well as numerous movies of the week. Before landing in Hollywood, she appeared on stage in many musical theater productions, among them South Pacific, Mame, Pajama Game, Annie Get Your Gun, and The Sound of Music. Her appearance in Elektra garnered a Drama League Award. ~ Linda Seida https://music.apple.com/tt/artist/janet-carroll/6002573
Carroll's first major film role came when she was cast in Risky Business as parent to a teenaged Tom Cruise. More film roles followed, casting her alongside such leading men as Sean Connery, Michael York, Henry Winkler, Matthew Broderick, Edward James Olmos, Beau Bridges, Keifer Sutherland, and Dustin Hoffman, among others. Her television appearances include Murphy Brown, Married With Children, and Melrose Place, as well as numerous movies of the week. Before landing in Hollywood, she appeared on stage in many musical theater productions, among them South Pacific, Mame, Pajama Game, Annie Get Your Gun, and The Sound of Music. Her appearance in Elektra garnered a Drama League Award. ~ Linda Seida https://music.apple.com/tt/artist/janet-carroll/6002573
I'll Be Seeing You
Saturday, December 26, 2020
Joanie Sommers - Golden Lady
Year: 2014
File: MP3@320K/s
Time: 175:31
Size: 408,8 MB
Art: Front
(3:02) 1. Makin' Whoopee
(2:43) 2. What's New?
(2:43) 3. I Concentrate On You
(3:55) 4. Heart and Soul
(3:42) 5. This Heart of Mine
(3:50) 6. 'Round Midnight
(2:45) 7. Hard Hearted Hannah
(3:07) 8. Blues in the Night
(2:35) 9. I Feel a Song Coming On
(2:14) 10. You Came a Long Way from St. Louis
(4:45) 11. My Ship
(2:29) 12. Hey! Jealous Lover
(3:58) 13. Why Shouldn't I
(2:31) 14. I Feel Pretty
(2:31) 15. Let's Talk About Love
(2:04) 16. I'm Old-Fashioned
(2:13) 17. I Don't Want to Walk Without You
(3:25) 18. Out of This World
(2:30) 19. Mean to Me
(2:38) 20. Shake Hands With a Fool
(2:02) 21. One Boy
(2:21) 22. Theme from a Summer Place
(2:37) 23. Ev'rything I've Got
(2:39) 24. Little Girl Blue
(2:51) 25. What's Wrong With Me
(2:02) 26. I Need Your Love
(2:06) 27. The Piano Boy
(4:16) 28. Spring Is Here
(2:29) 29. I'm Nobody's Baby
(2:32) 30. Since Randy Moved Away
(3:06) 31. Cherokee
(2:23) 32. Something's Coming
(2:22) 33. So in Love
(3:48) 34. Make the Man Love Me
(2:22) 35. Seems Like Long, Long Ago
(2:27) 36. I Can't Believe That You're in Love With Me
(2:33) 37. Johnny Get Angry
(2:16) 38. A Wonderful Guy
(3:23) 39. A Nightingale Sang in Berkeley Square
(2:31) 40. Till There Was You
(3:10) 41. Why Try to Change Me Now
(2:52) 42. A Lot of Livin' to Do
(3:33) 43. Just Squeeze Me
(2:13) 44. There's No Such Thing
(3:16) 45. Namely You
(3:21) 46. For All We Know
(2:35) 47. Kiss and Run
(2:12) 48. Old Devil Moon
(3:15) 49. I'll Never Stop Loving You
(2:21) 50. In a Matter of Moments
(2:17) 51. My Heart Belongs to Daddy
(3:32) 52. Something I Dreamed Last Night
(3:03) 53. It Might as Well Be Spring
(2:24) 54. I Like the Likes of You
(2:12) 55. I'm Beginning to See the Light
(2:43) 56. Oh but I Do
(2:59) 57. Too Young for the Blues
(1:57) 58. The Best Thing for You
(2:27) 59. Let There Be Love
(2:18) 60. Nobody Else but Me
(2:06) 61. Aren't You Glad You're You
(2:07) 62. This Can't Be Love
(3:22) 63. After the Lights Go Down Low
Joanie Sommers scored her biggest chart success with "Johnny Get Angry" in 1962. The single, her second solo release, peaked at the number seven spot and charted for more than two months. Her first solo record, "One Boy," was a number from the musical Bye Bye Birdie and only hit number 54 in 1960. She continued to record through the decade, but never had another winner that rose as high on the charts as "Johnny Get Angry." She later achieved a different kind of success in commercials with several different jingles that she sang for Pepsi during the '60s and again two decades later. (The title of one of her later albums, Come Alive, was even derived from one of the Pepsi ad campaigns.)
Sommers, whose real name is Joan Drost, was born in New York but grew up in California. During her high school and college years, she sang in school bands. She was 18 years old when Warner Bros. signed her to a contract in 1959 and paired her with Edd Byrnes on one of his singles. She also had a small role in 77 Sunset Strip, the television series that featured Byrnes in the role of Kookie. In addition, she sang on Byrnes' "I Don't Dig You" and "Hot Rock," which appeared on one of his albums. Sommers released an album of her own, the jazz-oriented Positively the Most, and it helped establish her presence in easy listening and adult circles. Fans and critics often cite her 1965 album, Softly the Brazilian Sound, as one of her best efforts.
In 1966, the singer signed with Columbia Records. One of her following recordings was a version of "Alfie," which both Cher and Dionne Warwick also covered it. While Sommers' version didn't get the notice that the other two did, she had the satisfaction of placing in the Top Ten in the easy listening category. She also appeared in On the Flip Side, a television special that starred Rick Nelson. The show's soundtrack contains two versions of "Try to See It My Way," one of which is a duet with Nelson while the other is a Sommers solo. The singer, married with three children, stepped out of the spotlight as the '70s approached. Before retiring, she made numerous television appearances on the shows of Johnny Carson, Dinah Shore, Dean Martin, Mike Douglas, Bobby Darin, and others. Sommers started singing and making appearances again during the '80s.~ Linda Seida https://www.allmusic.com/artist/joanie-sommers-mn0000784759/biography
Sommers, whose real name is Joan Drost, was born in New York but grew up in California. During her high school and college years, she sang in school bands. She was 18 years old when Warner Bros. signed her to a contract in 1959 and paired her with Edd Byrnes on one of his singles. She also had a small role in 77 Sunset Strip, the television series that featured Byrnes in the role of Kookie. In addition, she sang on Byrnes' "I Don't Dig You" and "Hot Rock," which appeared on one of his albums. Sommers released an album of her own, the jazz-oriented Positively the Most, and it helped establish her presence in easy listening and adult circles. Fans and critics often cite her 1965 album, Softly the Brazilian Sound, as one of her best efforts.
In 1966, the singer signed with Columbia Records. One of her following recordings was a version of "Alfie," which both Cher and Dionne Warwick also covered it. While Sommers' version didn't get the notice that the other two did, she had the satisfaction of placing in the Top Ten in the easy listening category. She also appeared in On the Flip Side, a television special that starred Rick Nelson. The show's soundtrack contains two versions of "Try to See It My Way," one of which is a duet with Nelson while the other is a Sommers solo. The singer, married with three children, stepped out of the spotlight as the '70s approached. Before retiring, she made numerous television appearances on the shows of Johnny Carson, Dinah Shore, Dean Martin, Mike Douglas, Bobby Darin, and others. Sommers started singing and making appearances again during the '80s.~ Linda Seida https://www.allmusic.com/artist/joanie-sommers-mn0000784759/biography
Golden Lady
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